DOCSLIB.ORG

Catalogue of Grainger Works for Brass Instrumentation (With Or Without Voices And/Or Other Instruments)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Catalogue of Grainger Works for Brass Instrumentation (With Or Without Voices And/Or Other Instruments) Catalogue of Grainger Works for Brass instrumentation (with or without voices and/or other instruments) Abbreviations used: AMFS = American Folk-Music Setting BFMS = British Folk-Music Setting CGW = Chosen Gems for Winds DFMD = Danish Folk-Music Setting EGM = English Gothic Music KS = Kipling Setting OEPM = Old English Popular Music (William Chappell) RMTB = Room Music Tit Bits S = Sentimentals SCS = Sea Chanty Setting YT = Youthful Tonework Publishers’ information may be found at the end of the catalogue Scoring information in italics indicates optional instruments Original Works and Folk-Music Settings: AFTERWORD [5’00”] BE Full scoring: 3 horns; 3 trumpets (or cornets); 3 trombones; euphonium; tuba; women’s and men’s unison chorus ARRIVAL PLATFORM HUMLET (RMTB 7) [ 2’30”] (arr. David Stanhope) n/a Full scoring: horn; 2 trumpets (or cornets); trombone; bass trombone AS SALLY SAT A-WEEPING (BFMS) [1’00”] (arr. Joseph Kreines) Southern Full scoring: horn; 2 trumpets (or cornets); trombone; tuba AUSTRALIAN UP-COUNTRY SONG [2’00”] (arr. Glenn Cliffe Bainum) Schirmer Full scoring: 2 horns; 2 trumpets (or cornets); 2 trombones; baritone; tuba BLITHE BELLS (after J. S. Bach’s Sheep may safely graze) [3’30”] Schott Full scoring: horn (or E horn); 2 trumpets in B; trombone; 2 pianos, 4 hands + glockenspiel; harmonium (or pipe-Organ); metal marimba (or vibraphone); wooden marimba; celesta (or dulcitone or piano); harp [with or without strings: 2.1.1.1.] BRIGG FAIR (BFMS 7) [3’45”] (arr. Leroy Osmon) n/a Full scoring: brass sextet CAMP, THE (BFMS – Welsh Fighting Song No. 1) [real. by Chalon Ragsdale] BE Full scoring: 4 horns; 3 trumpets; 3 trombones, euphonium; tuba; men’s unison chorus; satbb chorus; 2 guitars CHILDREN’S MARCH “Over the Hills and Far Away” (RMTB 4) [6’30”] BE Full Scoring: 4 cornets; 4 horns; 3 trombones; euphonium; tubas; 2 pianos, 4 hands + timpani; chimes; side-drum; wood block; tambourine; castanets; bells; bass-drum; cymbals (crash and suspended); gong; xylophone; double bass [with or without male voice quartet] COLONIAL SONG (S1) [6’00”] Schott Full scoring: 4 horns; 3 trumpets (or cornets); 3 trombones; tuba; piano solo + timpani; cymbals; 1 or 2 harps; [with or without 2 voices (or choir) and/or strings: 2.1.1.1.] COUNTY DERRY AIR (BFMS 29) [6’00”] BE Full scoring: euphonium; baritone sarrusophone; contra-sarrusophone; 4 women’s single voice or women’s small chorus; men’s small chorus; harmonium (or pipe-organ) [with or without strings: 3.1.0.0.] or: 4 or more horns; 3 trombones; alto sarrusophone; baritone sarrusophone; tuba; contra-sarrusophone; trumpet; women’s large chorus; men’s unison chorus; pipe-organ [with or without strings: 3.1.0.0.] or: 4 E horns; euphonium; baritone; trombones; alto sarrusophone; baritone sarrusophone; E and BB basses; contra-sarrusophone; trumpets; women’s large chorus; men’s unison chorus; pipe-organ or: for 6 or more brass instruments; pipe-organ (or harmonium) [without voices] DOLLAR AND A HALF A DAY (SCS 2) [3’30”] (arr. Joseph Kreines) JK Full scoring: trombone choir DUKE OF MARLBOROUGH FANFARE (BFMS 36) [2’15”] Schott Full scoring: 4 horns; 3 or 4 trumpets (or cornets); 3 trombones; euphonium (or baritone); Tuba; cymbal; double bass DUKE OF MARLBOROUGH FANFARE (BFMS 36) [2’15”] (edited Joseph Kreines) JK Full scoring: brass choir EARLY ONE MORNING (BFMS) [3’30”] (arr. Joseph Kreines) JK Full scoring: trombone choir GREEN BUSHES (BFMS 25) [8’30”] Schott Full scoring: 2 horns (or E horns); 2 trumpets in B; 2 pianos, 6 hands + timpani; side-drum; bass-drum; cymbals; xylophone; harmonium (or pipe-organ) [with or without strings] HANDEL IN THE STRAND (RMTB 2) [4’00”] (arr. Joseph Kreines) JK Full scoring: trombone choir HARVEST HYMN [3’30”] Schott Full scoring: [all instruments singly or massed] trumpet (or cornet or fluegelhorn); horn (or E horn); trombone (or baritone or euphonium); harmonium (or pipe-organ); piano [with or without voices and/or strings: 2.1.2.1.] HUNTER IN HIS CAREER, THE (OEPM 3) [2’30”] (arr. Chalon Ragsdale) n/a Full scoring: low brass choir I’M SEVENTEEN COME SUNDAY (BFMS 8) [ 3’00”] Schott Full scoring: 4 horns (or tenor or baritone horns); 2 or 3 trumpets (or cornets); 3 trombones; 2 tubas (or euphonium and BB or E bass); timpani; side-drum; cymbals; sattbb chorus I’M SEVENTEEN COME SUNDAY (BFMS 8) [3’00”] (arr. Paul Webster) BE Full scoring: 2 horns; 2 trumpets; 3 trombones; tuba; sattbb chorus IRISH TUNE FROM COUNTY DERRY (BFMS) [4’00”] (arr. R. P. Block) Phil Full scoring: trumpet solo or fluegelhorn solo or horn solo or euphonium solo or tuba solo IRISH TUNE FROM COUNTY DERRY (BFMS) [4’00”] (arr. R. P. Block) Phil Full scoring: trumpet and trombone or trumpet and euphonium IRISH TUNE FROM COUNTY DERRY (BFMS) [4’00”] (arr. R. P. Block) Phil Full scoring: 10 trumpets or 10 horns or 10 trombones IRISH TUNE FROM COUNTY DERRY (BFMS) [4’00”] (arr. R. P. Block) Phil Full scoring: horn; 2 trumpets (or cornets); trombone; tuba IRISH TUNE FROM COUNTY DERRY (BFMS) [4’00”] (arr. R. P. Block) Phil Full scoring: 10-part brass choir IRISH TUNE FROM COUNTY DERRY (BFMS) [4’00”] (arr. B. Haynes) n/a Full scoring: low brass choir IRISH TUNE FROM COUNTY DERRY (BFMS) [4’00”] (arr. Joseph Kreines) Southern Full scoring: brass choir IRISH TUNE FROM COUNTY DERRY (BFMS) [4’00”] (arr. Andrew Rafalski) n/a Full scoring: brass quintet IRISH TUNE FROM COUNTY DERRY (BFMS) [4’00”] (arr. Dennis Wright) Schott Full scoring: E soprano cornet; 3 solo B cornets; repiano B and fluegelhorn; 2nd and 3rd B cornets; solo E horn; 1st and 2nd E horns; 2 B baritones; 2 trombones; bass trombone; euphonium; 2 E basses; 2 BB basses; side-drum; bass-drum; JUTISH MEDLEY (DFMS 9) [ 7’30”] Schott Full scoring: 4 horns (or E horns); 3 trumpets; 3 trombones; euphonium; tuba; 2 pianos, 6 hands + side-drum; bass-drum; cymbals; wood block; xylophone; glockenspiel; celesta (or dulcitone); wooden marimba; metal marimba (or vibraphone); tubular chimes; staff bells; harmonium (or pipe-organ); harp [with or without strings: 2.1.1.1.] LINCOLNSHIRE POSY (FMS 34) [15’30”] (arr. Dennis Ferry) n/a Full scoring: horn; 2 trumpets (or cornets); trombone; tuba (or bass trombone) LISBON (DUBLIN BAY) (BFMS 40) [1’15”] BE Full scoring: horn (or E horn); 2 trumpets (or cornets); baritone (or trombone I); Euphonium (or trombone II) LISBON (DUBLIN BAY) (BFMS 40) [1’15”] (arr. Joseph Kreines) Southern Full scoring: horn; 2 trumpets (or cornets); trombone; tuba LORD MAXWELL’S GOODNIGHT (BFMS) [3’30”] (arr. Joseph Kreines) JK Full scoring: trombone choir MARCHING TUNE (BFMS 9) [4’30”] Schott Full scoring: 4 horns (or tenor or baritone horns); 3 cornets (or trumpets); 2 trombones; Bass trombone (or euphonium or E bass); tuba (or BB bass); satbb chorus MOCK MORRIS (RMTB 1) [3’30”] Schott Full scoring: 1 or 2 horns; 1 or 2 cornets; trombone; piano solo; double-bass; side-drum; bass-drum; cymbals; xylophone (or bells or celesta) [with or without strings] MOCK MORRIS (RMTB 1) [3’30”] (arr. Dennis Wright) Schott Full scoring: E soprano cornet; 3 solo B cornets; repiano B and fluegelhorn; 2nd and 3rd B cornets; solo E horn; 1st and 2nd E horns; 2 B baritones; 2 trombones; bass trombone; euphonium; 2 E basses; 2 BB basses; side-drum; bass-drum; MOLLY ON THE SHORE (BFMS 1) [3’30”] Schott Full scoring: 4 horns; 1 or 2 trumpets (or cornets); 3 trombones; tuba; piano solo (or special pianola arrangement); timpani; glockenspiel; xylophone; side-drum; bass-drum; cymbals; celesta; resonaphone (or marimbaphone or bells) [with or without strings] MO NIGHEAN DUBH (SON) [5’00”] (arr. Chalon Ragsdale) n/a Full scoring: low brass choir PEACE (YT) [2’50”] (arr. David Stanhope) n/a Full scoring: horn; 2 trumpets (or cornets); trombone; bass trombone POWER OF LOVE, THE (DFMS 2) [3’45”] (arr. Leroy Osmon) n/a Full scoring: brass sextet and soprano saxophone SEA-WIFE, THE (KS) [3’00”] BE Full scoring: 4 horns (or tenor or baritone horns); 3 cornets (or trumpets – 1st can be replaced with E soprano cornet); 3 trombones; 2 tubas; E bass; BB bass; timpani; satb chorus with divisi SEA-WIFE, THE (KS 22) [3’00”] Schott Full scoring: 4 horns; 2 or 3 trumpets (or cornets); 3 trombones; tubas; baritone; euphonium; timpani; satb chorus with divisi [with or without strings: 2.2.2.1.] SHEPHERD’S HEY! (BFMS) [2’00”] (arr. David Stanhope) CH Full scoring: horn; 2 trumpets (or cornets); trombone; bass trombone SHEPHERD’S HEY! (BFMS) [2’00”] (arr. Denis Wick) n/a Full scoring: horn; piccolo trumpet; 2 trumpets (or cornets); fluegelhorn; 3 trombones; Bass trombone; tuba SHEPHERD’S HEY! (BFMS) [2’00”] (arr. Dennis Wright) Schott Full scoring: E soprano cornet; 3 solo B cornets; repiano B and fluegelhorn; 2nd and 3rd B cornets; solo E horn; 1st and 2nd E horns; 2 B baritones; 2 trombones; bass trombone; euphonium; 2 E basses; 2 BB basses; side-drum; bass-drum; cymbals; triangle; xylophone; tubular bells SIX DUKES WENT A-FISHIN’ (BFMS 11) [2’45”] (arr. Joseph Kreines) Southern Full scoring: horn; 2 trumpets (or cornets); trombone; tuba SPOON RIVER (AMFS 1) [ 4’00”] Schott Full scoring: horn (or E horn); trumpet; 3 trombones; tuba; 2 pianos; harmonium (or pipe-organ); timpani; side-drum; bass-drum; cymbals; glockenspiel; staff bells; metal marimba; tubular chimes; xylophone; wooden marimba; harp [with or without strings: 3.1.2.1.] SUSSEX MUMMERS’ XMAS CAROL (BFMS) [2’00”] (arr. R. P. Block) Phil Full scoring: horn; 2 trumpets (or cornets); trombone; tuba SUSSEX MUMMERS’ XMAS CAROL (BFMS) [2’00”] (arr.
Load more

Recommended publications
  • Lincolnshire Posy
    CONDUCTOR 04005975 Two Movements from LINCOLNSHIRE POSY PERCY ALDRIDGE GRAINGER Arranged by MICHAEL SWEENEY INSTRUMENTATION 1 - Full Score 8 - Flute Part 1 2 - Oboe 6 - B% Clarinet/B% Trumpet 4 - Violin 6 - B% Clarinet/B% Trumpet Part 2 2 - E% Alto Saxophone 4 - Violin 4 - B% Clarinet 2 - B% Tenor Saxophone % % Part 3 2 - E Alto Saxophone/E Alto Clarinet 2 - F Horn 2 - Violin 4 - Viola 4 - B% Tenor Saxophone/Baritone T.C. 2 - F Horn Part 4 4 - Trombone/Baritone B.C./Bassoon 2 - Cello 2 - B% Bass Clarinet 4 - Trombone/Baritone B.C./Bassoon 2 - Baritone T.C. Part 5 2 - Cello 2 - E% Baritone Saxophone 4 - Tuba 2 - String/Electric Bass 2 - Percussion 1 Snare Drum, Bass Drum 2 - Percussion 2 Sus. Cym. 2 - Mallet Percussion Bells, Xylophone, Chimes, Crotales 1 - Timpani Additional Parts U.S. $2.50 Score (04005975) U.S. $7.50 8 88680 94789 7 HAL LEONARD Two Movements from FLEX-BAND SERIES LINCOLNSHIRE POSY PERCY ALDRIDGE GRAINGER Duration – 2:15 (Œ = 72-76) Arranged by MICHAEL SWEENEY Slowly flowingly Horkstow Grange 5 PART 1 Cl. preferred bb 4 a2 œ œ œ œ 5 œ. œ œ œ 4 œ œ œ œ 5 œ œ ˙œœ 4 œ œ œ œ œ œ œ Flute/Oboe & 4 œ œ 4 ˙ 4 œ 4 4 œ œ P F P F 4 a2 5 4 5 4 B¯ Clarinet/ & 4 4 œ. œ 4 4 œ œ 4 œ œ B¯ Trumpet œ œ œ œ œ œ œ œ œ œ œ œ ˙œœ œ œ œ œ œ œ Pœ ˙ F P F œ ≤ ≥ ≤ ≥ ≥ bb 4 5 4 5 4 Violin & 4 œ 4 œ.
    [Show full text]
  • Alternately Known As 1313; Originally Releases 1977 by UZ, 1977 by Atem, Numerous Intervening Reissues, 1990 by Cuneiform
    UNIVERS ZERO UNIVERS ZERO CUNEIFORM 2008 REISSUE W BONUS TRACKS & REMASTER (alternately known as 1313; originally releases 1977 by UZ, 1977 by Atem, numerous intervening reissues, 1990 by Cuneiform) Cuneiform 2008 album features: Michel Berckmans [bassoon], Daniel Denis [percussion], Marcel Dufrane [violin], Christian Genet [bass], Patrick Hanappier [violin, viola, pocket cello], Emmanuel Nicaise [harmonium, spinet], Roger Trigaux [guitar], and Guy Segers [bass, vocal, noise effects] “ALBUM OF THE WEEK...Released in 1977, it was astonishing then: today, it sounds like the hidden source for every one of today's avant-garde rock bands. Chillingly beautiful, driven by the bassoon and cello more than the guitar and synth, each instrumental is both pastoral and burgeoning with terrible life. … This is edgy beyond belief. …Each piece magnificently refuses to deviate from its mood, its tense, thrilling, growling, restrained focus... The whole is like the rare, delicious bits of great film soundtrack that create menace and energy out of nowhere. … Univers Zero are a revelation …” – Sean O., Organ, #274, September 18th, 2008 “UZ's debut remains both benchmark and landmark. Reissued numerous times over the years…this definitive version finally presents this unprecedented music the way it was meant to be heard, clarifying how—emerging out of nowhere with little history to precede it— UZ has been so vital in changing the way chamber music is perceived. UZ's music was an antecedent for the kind of instrumental and stylistic interspersion considered normal today by groups including Bang on a Can and Alarm Will Sound. Henry Cow's complex, abstruse writing meets Bartok, Stravinsky, Messiaen and Ligeti, but with hints of early music, especially in UZ's use of spinet and harmonium.
    [Show full text]
  • Cds by Composer/Performer
    CPCC MUSIC LIBRARY COMPACT DISCS Updated May 2007 Abercrombie, John (Furs on Ice and 9 other selections) guitar, bass, & synthesizer 1033 Academy for Ancient Music Berlin Works of Telemann, Blavet Geminiani 1226 Adams, John Short Ride, Chairman Dances, Harmonium (Andriessen) 876, 876A Adventures of Baron Munchausen (music composed and conducted by Michael Kamen) 1244 Adderley, Cannonball Somethin’ Else (Autumn Leaves; Love For Sale; Somethin’ Else; One for Daddy-O; Dancing in the Dark; Alison’s Uncle 1538 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 1 Aebersold, Jamey: Favorite Standards (vol 22) 1279 pt. 2 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 1 Aebersold, Jamey: Gettin’ It Together (vol 21) 1272 pt. 2 Aebersold, Jamey: Jazz Improvisation (vol 1) 1270 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 1 Aebersold, Jamey: Major and Minor (vol 24) 1281 pt. 2 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 1 Aebersold, Jamey: One Dozen Standards (vol 23) 1280 pt. 2 Aebersold, Jamey: The II-V7-1 Progression (vol 3) 1271 Aerosmith Get a Grip 1402 Airs d’Operettes Misc. arias (Barbara Hendricks; Philharmonia Orch./Foster) 928 Airwaves: Heritage of America Band, U.S. Air Force/Captain Larry H. Lang, cond. 1698 Albeniz, Echoes of Spain: Suite Espanola, Op.47 and misc. pieces (John Williams, guitar) 962 Albinoni, Tomaso (also Pachelbel, Vivaldi, Bach, Purcell) 1212 Albinoni, Tomaso Adagio in G Minor (also Pachelbel: Canon; Zipoli: Elevazione for Cello, Oboe; Gluck: Dance of the Furies, Dance of the Blessed Spirits, Interlude; Boyce: Symphony No. 4 in F Major; Purcell: The Indian Queen- Trumpet Overture)(Consort of London; R,Clark) 1569 Albinoni, Tomaso Concerto Pour 2 Trompettes in C; Concerto in C (Lionel Andre, trumpet) (also works by Tartini; Vivaldi; Maurice André, trumpet) 1520 Alderete, Ignacio: Harpe indienne et orgue 1019 Aloft: Heritage of America Band (United States Air Force/Captain Larry H.
    [Show full text]
  • University Symphonic Band 2012–13 Season Sunday 21 October 2012 83Rd Concert Miller Auditorium 3:00 P.M
    University Symphonic Band 2012–13 Season Sunday 21 October 2012 83rd Concert Miller Auditorium 3:00 p.m. ROBERT SPRADLING, Conductor Matthew Pagel, Graduate Assistant Conductor Ryan George Firefly (2008) b. 1978 Percy Aldridge Grainger Colonial Song (1911) 1882–1961 Václav Nelhýbel Symphonic Movement (1966) 1919–1996 Matthew Pagel, Conductor Christopher Biggs Object Metamorphosis II (2011) b. 1979 Michael Gandolfi Flourishes and Meditations on a Renaissance Theme (2010) b. 1956 Theme Variation I. (A Cubist Kaleidoscope) Variation II. (Cantus in augumentation: speed demon) Variation III. (Carnival) Variation IV. (Tune’s in the round) Variation V. (Spike) Variation VI. (Rewind/fast forward) Variation VII. (Echoes: a surreal reprise) Building emergencies will be indicated by the flashing exit lights and sounding of alarms within the seating area. Please walk, DO NOT RUN, to the nearest exit. Ushers will be located near exits to assist patrons. Please turn off all cell phones and other electronic devices during the performance. Because of legal issues, any video or audio recording of this performance is prohibited without prior consent from the School of Music. Thank you for your cooperation. PROGRAM NOTES compiled by Robert Spradling and Matthew Pagel George, Firefly the composer’s notes, to be the first in a series of “Sentimentals,” the piece stems from 1905 when Ryan George resides in Austin, Texas and is gaining Grainger was working in London and actively notoriety as a composer and arranger throughout the arranging English folksongs. Between 1913–1928 he United States as well as in Europe and Asia. In produced no fewer than six different arrangements: describing Firefly, George wrote, “I’m amazed at how three for two optional voices with various instrumental children use their imaginations to transform the ensembles; one for piano solo (1921); one for military ordinary into the extraordinary and fantastic.
    [Show full text]
  • In Concert AUGUST–SEPTEMBER 2012
    ABOUT THE MUSIC GRIEG CONCERTO /IN CONCERT AUGUST–SEPTEMBER 2012 GRIEG CONCERTO 30 AUGUST–1 SEPTEMBER STEPHEN HOUGH PLAYS TCHAIKOVSKY 14, 15 AND 17 SEPTEMBER TCHAIKOVSKY’S PATHÉTIQUE 20–22 SEPTEMBER ENIGMA VARIATIONS 28 SEPTEMBER MEET YOUR MSO MUSICIANS: SYLVIA HOSKING AND MICHAEL PISANI PIERS LANE VISITS GRIEG’S BIRTHPLACE STEPHEN HOUGH ON TCHAIKOVSKY’S PIANO CONCERTO NO.2 SIR ANDREW DAVIS HAILS THE NEW HAMER HALL twitter.com/melbsymphony facebook.com/melbournesymphony IMAGE: SIR ANDREW Davis CONDUCTING THE MELBOURNE SYMPHONY ORCHESTRA Download our free app 1 from the MSO website. www.mso.com.au/msolearn THE SPONSORS PRINCIPAL PARTNER MSO AMBASSADOR Geoffrey Rush GOVERNMENT PARTNERS MAESTRO PARTNER CONCERTMASTER PARTNERS MSO POPS SERIES REGIONAL TOURING PRESENTING PARTNER PARTNER ASSOCIATE PARTNERS SUPPORTING PARTNERS MONASH SERIES PARTNER SUPPLIERS Kent Moving and Storage Quince’s Scenicruisers Melbourne Brass and Woodwind Nose to Tail WELCOME Ashton Raggatt McDougall, has (I urge you to read his reflections been reported all over the world. on Grieg’s Concerto on page 16) and Stephen Hough, and The program of music by Grieg conductors Andrew Litton and and his friend and champion HY Christopher Seaman, the last of Percy Grainger that I have the whom will be joined by two of the privilege to conduct from August finest brass soloists in the world, otograp 29 to September 1 will be a H P Radovan Vlatkovic (horn) and wonderful opportunity for you to ta S Øystein Baadsvik (tuba), for our O experience all the richness our C special Town Hall concert at the A “new” hall has to offer.
    [Show full text]
  • Catalogue of Works Barry Peter Ould
    Catalogue of Works Barry Peter Ould In preparing this catalogue, I am indebted to Thomas Slattery (The Instrumentalist 1974), Teresa Balough (University of Western Australia 1975), Kay Dreyfus (University of Mel- bourne 1978–95) and David Tall (London 1982) for their original pioneering work in cata- loguing Grainger’s music.1 My ongoing research as archivist to the Percy Grainger Society (UK) has built on those references, and they have greatly helped both in producing cata- logues for the Society and in my work as a music publisher. The Catalogue of Works for this volume lists all Grainger’s original compositions, settings and versions, as well as his arrangements of music by other composers. The many arrangements of Grainger’s music by others are not included, but details may be obtained by contacting the Percy Grainger Society.2 Works in the process of being edited are marked ‡. Key to abbreviations used in the list of compositions Grainger’s generic headings for original works and folk-song settings AFMS American folk-music settings BFMS British folk-music settings DFMS Danish folk-music settings EG Easy Grainger [a collection of keyboard arrangements] FI Faeroe Island dance folk-song settings KJBC Kipling Jungle Book cycle KS Kipling settings OEPM Settings of songs and tunes from William Chappell’s Old English Popular Music RMTB Room-Music Tit Bits S Sentimentals SCS Sea Chanty settings YT Youthful Toneworks Grainger’s generic headings for transcriptions and arrangements CGS Chosen Gems for Strings CGW Chosen Gems for Winds 1 See Bibliography above. 2 See Main Grainger Contacts below.
    [Show full text]
  • Seattle Wind Symphony Larry Gookin Conductor & Artistic Director
    Seattle Wind Symphony Larry Gookin Conductor & Artistic Director Danny Helseth Assistant Director Jazz Musicians Dr. Daniel Barry (composer) , Steve Mostovoy (trumpet), Javino Santos Neto (piano) performing River of Doubt Beserat Tafesse, Euphonium Soloist, performing Fantasia Di Concerto Saturday February 21st at 7:30 PM Shorewood Performing Arts Center 17300 Fremont Avenue North– Shoreline WA 98133 Larry Gookin has been Director of Bands at Central Washington University since 1981. He has served as the Associate Chair and Coordinator of Graduate Studies. His fields of experse include music educaon, wind literature, conducng, and low brass performance. Professor Gookin received the M.M. in Music Educaon from the University of Oregon School of Music in 1977 and the B.M. in Music Educaon and Trombone Performance from the University of Montana in 1971. He taught band for 10 years in public schools in Montana and Oregon. Prior to accepng the posion as Director of Bands at Central Washington University, he was Director of Bands at South Eugene High School in Eugene, OR. Gookin has served as President of the Northwest Division of the CBDNA, as well as Divisional Chairman for the Naonal Band Associaon. He is past Vice President of the Washington Music Educators Associaon. In 1992, he was elected to the membership of the American Bandmaster’s Associaon, and in 2000 he became a member of the Washington Music Educators “Hall of Fame.” In 2001, Gookin received the Central Washington University Disnguished Professor of Teaching Award, and in 2003 was named WMEA teacher of the year. In 2004, he was selected as Central Washington University’s representave for the Carnegie Foundaon (CASE) teaching award.
    [Show full text]
  • Canzona Peter Mennin Wednesday, October 7, 2015 - 8 P.M
    PROGRAM NOTES Mother Earth David Maslanka “Praised be You, my Lord, for our sister, Mother Earth, Who nourishes us and teaches us. Bringing forth all kinds of fruits and colored flowers and herbs.” WIND ENSEMBLE -St. Francis of Assisi Eddie R. Smith, conductor Canzona Peter Mennin Wednesday, October 7, 2015 - 8 p.m. MEMORIAL CHAPEL American composer Peter Mennin chose this title in homage to the Renaissance instrumental forms of that name. Like the canzoni of Gabrieli, this work features Mother Earth David Maslanka contrasting, antiphonal statements from opposing voices; Mennin has combined (b. 1943) that with modern harmony and structure. The work was commissioned in 1950 as part of an effort by Edwin Goldman to develop a significant repertoire for Canzona Peter Mennin concert band. Mennin wrote six symphonies, concertos, sonatas and choral works. (1923-1983) Canzona is the only piece he wrote for concert band. David Moreland, conductor Variants on a Mediaeval Tune Norman Dello Joio Variants on a Mediaeval Tune Norman Dello Joio “In dulci jubilo” is a melody which has been used by many composers. Dello Joio Andante moderato (1913-2008) was inspired by it to compose a set of variations consisting of a brief introduction Allegro deciso and theme follow by five “variants” which send the mediaeval melody through five Lento, pesante true metamorphoses contrasting in tempo and character. Allegro spumante Andante French Impressions Guy Woolfenden Allegro gioioso “This work is inspired by four paintings by the French painter Georges Seurat French Impressions Guy Woolfenden (1859-1891), but do not attempt to recreate his pointillist technique in musical Parade (b.
    [Show full text]
  • Percy Grainger, Frederick Delius and the 1914–1934 American ‘Delius Campaign’
    ‘The Art-Twins of Our Timestretch’: Percy Grainger, Frederick Delius and the 1914–1934 American ‘Delius Campaign’ Catherine Sarah Kirby Submitted in total fulfilment of the requirements of the degree of Master of Music (Musicology) April 2015 Melbourne Conservatorium of Music The University of Melbourne Produced on archival quality paper Abstract This thesis explores Percy Grainger’s promotion of the music of Frederick Delius in the United States of America between his arrival in New York in 1914 and Delius’s death in 1934. Grainger’s ‘Delius campaign’—the title he gave to his work on behalf of Delius— involved lectures, articles, interviews and performances as both a pianist and conductor. Through this, Grainger was responsible for a number of noteworthy American Delius premieres. He also helped to disseminate Delius’s music by his work as a teacher, and through contact with publishers, conductors and the press. In this thesis I will examine this campaign and the critical reception of its resulting performances, and question the extent to which Grainger’s tireless promotion affected the reception of Delius’s music in the USA. To give context to this campaign, Chapter One outlines the relationship, both personal and compositional, between Delius and Grainger. This is done through analysis of their correspondence, as well as much of Grainger’s broader and autobiographical writings. This chapter also considers the relationship between Grainger, Delius and others musicians within their circle, and explores the extent of their influence upon each other. Chapter Two examines in detail the many elements that made up the ‘Delius campaign’.
    [Show full text]
  • 'The Expressive Organ Within Us:' Ether, Ethereality, And
    CARMEL RAZ Music and the Nerves “The Expressive Organ within Us”: Ether, Ethereality, and Early Romantic Ideas about Music and the Nerves CARMEL RAZ In Honoré de Balzac’s novel Le Lys dans la sounds without melody, and cries that are lost in Vallée (1835), Felix de Vandenesse courts solitude.1 Henriette de Mortsauf by implying that their souls have a sympathetic connection. Katherine Prescott Wormeley’s translation ren- ders “un orgue expressif doué de mouvement” We belong to the small number of human beings as “the organ within us endowed with expres- born to the highest joys and the deepest sorrows; sion and motion.” This word choice omits the whose feeling qualities vibrate in unison and echo author’s pun on the expressive organ, here serv- each other inwardly; whose sensitive natures are in ing as both a metaphor for the brain and a harmony with the principle of things. Put such be- reference to the recently invented harmonium ings among surroundings where all is discord and instrument of the same name, the orgue they suffer horribly. The organ within us en- expressif.2 Balzac’s wordplay on the expressive dowed with expression and motion is exercised in a organ represents an unexpected convergence of void, expends its passion without an object, utters music, organology, natural science, and spiri- tualism. A variety of other harmoniums popu- I would like to thank Patrick McCreless, Brian Kane, Paola Bertucci, Anna Zayaruznaya, Courtney Thompson, Jenni- 1Honoré de Balzac, The Lily of the Valley, trans. Katharine fer Chu, Allie Kieffer, Valerie Saugera, Nori Jacoby, and P.
    [Show full text]
  • My Father Knew Charles Ives Harmonielehre
    AMERICAN CLASSICS JOHN ADAMS My Father Knew Charles Ives Harmonielehre Nashville Symphony Giancarlo Guerrero John Adams (b. 1947) My Father Knew Charles Ives • Harmonielehre My Father Knew Charles Ives is an intriguing, allusive with his father in the local Nevers’ Second Regimental reaches its apex, however, the music suddenly subsides, woodwinds introduce an insistent D (suggesting a title. But, as composer John Adams freely admits, his Band). When the parade begins (at 5:38), Adams mirroring “a moment of sudden, unexpected astonishment functional seventh chord, perhaps?), but the prevailing E father never met the iconoclastic New England composer, conjures up an Ivesian Fourth of July, although in this after a hard-won rush to the top.” minor triad persists, driven by a constant quarter-note much less knew him personally. In his memoir, Hallelujah instance the tunes only sound familiar. Rather than At the time he completed Harmonium for the San pulse in the bass and flurries of eighth notes in the rest of Junction: Composing an American Life (Farrar, Straus quoting established melodies as Ives often did, Adams Francisco Symphony and Chorus in 1981, Adams described the strings (and eventually woodwinds). The harmony and Giroux, 2008), he notes similarities between his creates his own. “Only a smirk from trumpets playing himself as “a Minimalist who is bored with Minimalism.” steadily thickens and becomes more complex until the father and George Ives, Connecticut bandmaster and Reveille and, in the coda, a hint of Ives’ beloved Nearer He was an artist who needed to move on creatively but pounding pulse relaxes and eases into a second “theme” father of Charles: “Both fathers were artistic and not My God to Thee are the genuine article,” he says.
    [Show full text]
  • Lincolnshire Posy Abbig
    A Historical and Analytical Research on the Development of Percy Grainger’s Wind Ensemble Masterpiece: Lincolnshire Posy Abbigail Ramsey Stephen F. Austin State University, Department of Music Graduate Research Conference 2021 Dr. David Campo, Advisor April 13, 2021 Ramsey 1 Introduction Percy Grainger’s Lincolnshire Posy has become a staple of wind ensemble repertoire and is a work most professional wind ensembles have performed. Lincolnshire Posy was composed in 1937, during a time when the wind band repertoire was not as developed as other performance media. During his travels to Lincolnshire, England during the early 20th century, Grainger became intrigued by the musical culture and was inspired to musically portray the unique qualities of the locals that shared their narrative ballads through song. While Grainger’s collection efforts occurred in the early 1900s, Lincolnshire Posy did not come to fruition until it was commissioned by the American Bandmasters Association for their 1937 convention. Grainger’s later relationship with Frederick Fennell and Fennell’s subsequent creation of the Eastman Wind Ensemble in 1952 led to the increased popularity of Lincolnshire Posy. The unique instrumentation and unprecedented performance ability of the group allowed a larger audience access to this masterwork. Fennell and his ensemble’s new approach to wind band performance allowed complex literature like Lincolnshire Posy to be properly performed and contributed to establishing wind band as a respected performance medium within the greater musical community. Percy Grainger: Biography Percy Aldridge Grainger was an Australian-born composer, pianist, ethnomusicologist, and concert band saxophone virtuoso born on July 8, 1882 in Brighton, Victoria, Australia and died February 20, 1961 in White Plains, New York.1 Grainger was the only child of John Harry Grainger, a successful traveling architect, and Rose Annie Grainger, a self-taught pianist.
    [Show full text]